How do I format a full frame 16x20 print to minimize edge loss at printer?

Wondering how to best format prints for printer to avoid visible edge loss in printing. I have color borders on the photos, H & V.
Do I subtract a 1/4th inch from each side while formatting? Order with "border" and cut the border?
Prints will be mounted on standzard 16 x20 backboard.
Thanks in advance.

SuPhil wrote:
This photo lab worker had said it's not a standard amount or any particular side.
That's not a very helpful lab worker then !
From your original post you said you had a colour border, so why not extend your canvas and border by a quarter inch all round. That should be more than enough bleed.
Cheers,
Neale
Insanity is hereditary, you get it from your children
If this post or another user's post resolves the original issue, please mark the posts as correct and/or helpful accordingly. This helps other users with similar trouble get answers to their questions quicker. Thanks.

Similar Messages

How do you create a full frame sequence to change it from wide to full

How do you create a new full frame sequence to change it from wide to full screen to burn a dvd? I tried creating a new project and importing the current sequence, but it imports the entire project with all the individual clips on the timeline, what is the practical way of doing this?
Thanks
Elio

Create a new sequence using "full frame settings" and then nest the widescreen sequence in the new sequence. Now scale the nested sequence to your satisfaction.
You will also find links to many free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
Cheers
Eddie

Warp Stabilizer: How to Start and End Full Frame?

Often I only need to stabilize part of a scene so I just crop the segment to be stabilized. But I want the transition to and from the stabilized segment to be smooth. There is no "timer" so I cannot change the level of stabilization from 0% to 100% over a period of 1-2 seconds. So how do I achieve this?

In the past when I wanted to stabilize a portion of a clip, I'd stabilize the part of it that I needed stabilized and then crop the non-stabilized part in to match the percentage that's scaled and then use the motion settings to sort of move the clip around to match the start or end frame that's stabilized. It's not perfect, but it's fairly seemless. Yeah, it would be nice to gradually de-stabilize something but for now, this is what we do on the rare occasion that we need to do it. Warp Stabilizer in After Effects is a bit more fully featured so maybe there's a way to do it there, I don't know.
Good luck!

How can I format the Keynote pages that I print?

How can I format my keynote pages for printing. I would like to be able to add margins, reduce the size of the slides, and change the size of the presenters noted fonts. Any ideas?

I think that the answer is lost someone in the manual.....
Use the inspector where there is a tab for the document format.
cheers
rob

Delimited output of report that contains frames with Print Direction = 'Across'

Hello all.
On the header section of my report, I have a frame with Print Direction = 'Across'.
On screen the output is :
Value1 Value2 Value3 Value 4
I want to export this report to excel, by using DELIMITED option. However the output I'm getting is :
Value1
Value2
Value3
Value4
e.g., reports is not generating several columns (one for each field), but separate lines.
Anyone knows how to accomplish delimited output of frames with Print Direction='Across' ?
Thanks in Advance,
Octavio

If you're not generating both bitmap and delimited data from the same report, try using character mode output rather than "delimited". You can create the report to generate the appropriately delimited values to a text file. This will also give you greater control over aspects such as headings.
Delimited output simply uses the structure of the layout. It doesn't take into account the across/down repeat directions except in the case of matrix.

How can I print a full frame photo from iPhoto 11? Even though I click on scale to fit paper size, it crops both ends of the photo in landscape set up. I have an Epson R1800 with the latest drivers.

How can I print a full frame photo from iPhoto 11? Even though I click on scale to fit paper size, it crops both ends of the photo in landscape set up. I have an Epson R1800 with the latest drivers. (I'm also 3 days new to iMac and iPhoto 11 from an eMac and iPhoto 6.)

" Hello Jeff. Here at Oki Data, we do not support programming. I would recommend contacting Adobe for further assistance. You can also browse their website at http://www.adobe.com/products/postscript/.

How do I create a photo in jpg or other photo format from a frame within iMovie11. The suggestion I have found from earlier versions of iMovie does not create a jpg file that can be revealed in Finder. Help please.

How do I create a photo in jpg or other photo format from a frame in iMovie. The previous suggestions on here do not create a jpg file when you chose reveal in finder when using iMovie11 and OS X

First, get an app called MPEG Streamclip, which is free. (google MPEG Streamclip from Squared 5)
Open MPEG Streamclip.
In iMovie, select the clip you need. Then, right-click/Reveal in Finder.
Drag this clip into MPEG Streamclip
In MPEG Streamclip, move the playhead to the frame you want.
In MPEG Streamclip, click FILE/EXPORT FRAME.
Choose JPEG, TIFF, or PNG and give it a name.
You can then drag this photo into iPhoto.
Here is a video I made that steps through this...
I may receive some form of compensation, financial or otherwise, from my recommendation or link.

How do I copy/paste full numerical-only account strings into the Projects WebADI template when the account segment fields in the template require use of the dropdown because they're formatted as alpha-numeric values?

How do I copy/paste full numerical-only account strings into the Projects WebADI template when the account segment fields in the template require use of the dropdown because they're formatted as alpha-numeric values? I'm using the Integrator named "Projects - Transaction Import" and a custom Layout created based on the seeded Layout named "Transaction Import - Accounted". Do I need to somehow change my Layout to make the Document accept numerical values instead of requiring alpha-numeric values? I need to be able to populate the Document with a large amount of transactions and cannot feasibly go through every transaction to add the alpha-valued name of the account segment to every segment that requires it. The segments in particular causing the problem are "Expnd Type" and "Organization Name" which are both alpha-numeric and as such contain the segment number and name; I need to be able to only have to enter the Natural Account Number (6-digit number only) and the Organization Number (5-digit number only).

How do I copy/paste full numerical-only account strings into the Projects WebADI template when the account segment fields in the template require use of the dropdown because they're formatted as alpha-numeric values? I'm using the Integrator named "Projects - Transaction Import" and a custom Layout created based on the seeded Layout named "Transaction Import - Accounted". Do I need to somehow change my Layout to make the Document accept numerical values instead of requiring alpha-numeric values? I need to be able to populate the Document with a large amount of transactions and cannot feasibly go through every transaction to add the alpha-valued name of the account segment to every segment that requires it. The segments in particular causing the problem are "Expnd Type" and "Organization Name" which are both alpha-numeric and as such contain the segment number and name; I need to be able to only have to enter the Natural Account Number (6-digit number only) and the Organization Number (5-digit number only).

T3i sensor size vs. full frame and how does that effect lens measurements?

I am new to both photography and the T3i camera. I have been reading Jeff Revell's book "Canon EOS Rebel T3i / 600D: From Snapshots to Great Shots". In chapter two he talks about "Lenses and Focal Lengths". In discussing wide-angle lenses he says
"As for which lenses would be considered wide angle, anything 35mm or smaller could be considered as wide."
Latter he discusses normal lenses and says
"The normal lens for full-frame and 35mm cameras is the 50mm lens, but for the T3i it is more in the neighborhood of a 35mm lens."
I understand that there is a 1 / 1.6 ratio between the T3i and a Full Frame camera. In the first quote does the 35mm refer to the T3i measurement or a full frame measurement?
Is there a standard nomenclature to indicate if you are specifying a "full frame" value verses the T3i value? If so, what is it?
When I look at one of my lenses, say the 18-55mm lens, is this the T3i measurement or the standard full frame?
Thanks in advance for your assistance.
--Jesse
P.S. I could not find a publisher’s forum for this book or I would have asked the question there.

Jesse-T3i wrote:
"As for which lenses would be considered wide angle, anything 35mm or smaller could be considered as wide."
In the first quote does the 35mm refer to the T3i measurement or a full frame measurement?
Is there a standard nomenclature to indicate if you are specifying a "full frame" value verses the T3i value? If so, what is it?
When I look at one of my lenses, say the 18-55mm lens, is this the T3i measurement or the standard full frame?
The fast answers are:
When he mentions the 35mm as the basis for determining what's "wide" he is referring to the APS-C crop-frame size sensor.
There is no nomenclature to indicate if you are "full frame" vs. "crop frame" on a lens because all lenses are reported in true focal lengths. There is a nomenclature to indicate if the lens was designed to only project an image circle onto the sensor which is large enough for "crop frame" ... which is what the "EF-S" lens is. If the lens is for "full frame" (which also works on all crop-frame) then it will have the designation "EF" for most lenses, but Canon also has a few specialty lenses such as the "TS-E" (tilt shift) and "MP-E" (macro photo) lenses which also provide full-frame sensor coverage. Incidentally... this is just Canon's way of tagging a lens... Nikon uses the terms "FX" and "DX" (for full frame and crop frame respectively). Everyone has their own tag. Just remember that focal lengths reported are true (well... there's a TINY bit of round-off allowed) and ignore the sensor size.
Here's the background which may help you understand why this is.
The "normal" focal length is based on the human eye, and to understand it, it's easier to think in terms of "angle of view" rather than "focal length."
If you sit and stare straight ahead without moving your eyes or head to "look around", there is an area of vision that the average person can see (and it does vary), but the "angle of view" for that area is about 40 degrees (horizontally). Of course our vision doesn't present our brain with a nice little rectangular image... it fades and is irregular, but it's generally accepted that the angle of view covers about 40 degrees.
The LENS that provides 40 degree angle of view coverage on a "full frame" camera turns out to be a 50mm lens. Images taken with such a lens will seem neither stretched out nor compressed... they'll seem "normal" to your brain. Also, if you can see an object without having to look around to take in the view, then your camera can "see" it with that lens.
A "full frame" camera is one which has a sensor size which is approximately the same as a single frame of 35mm film. The dimensions are roughly 36mm x 24mm.
There are many different crop frame sizes, but for DSLR cameras, the most popular (by far) is the APS-C size. This means the sensor is roughly the same size as a single frame for the "Advanced Photo System - Classic" film. You can think of this as being roughly 21mm x 14mm (although it varies by a just a few millimeters -- on your camera it's really 22.3 x 14.9mm).
If you were to use a movie projector and movie screen and you projected an image so that it fit perfectly on a 12' x 8' screen and called that "full frame", then a "crop frame" would be derived by shriking the movie screen down to about 8' wide by about 5-1/3' tall but (and here's the key) without doing ANYTHING to the movie projector. Essentially that means you're projecting an image intended to fit ona 12x8' screen... but the real screen is smaller. What happens to the part of the image that doesn't fit on the screen? It just spills off the sides and is lost. That is EXACTLY what happens inside a crop-frame camera.
Canon EOS "EF" lenses are designed to project an image large enough to fill a full-frame sensor ... so when used on a crop-frame camera some of that image just spills off the sides. This means that if your lens was providing a 40 degree angle of view (measured horizontally) then the crop-frame is only capturing the 26 degrees in the middle of it. If you want a 40 degree angle of view again... you'll need to change lenses.
And this is where your author suggests a 35mm lens is "normal" for a camera with an APS-C body. The math actually works out in the neighborhood of a 31mm lens, but nobody actually makes a 31mm lens... and a 35mm focal length (commonly available) is pretty close. Also 28mm lenses are commonly available and are ALSO pretty close. It's my personal opinion that 28mm is probably a bit more normal than 35mm, but that's because as an avid amateur astronomer, I am fairly used to looking through Plossl design eyepieces which provide a 50 degree apparent angle of view and my eye actually can see the edges of the frame, but if I go a bit wider... I can no longer see the edges of the field without "looking around" (regardless... 40 degrees seems to be the established norm and THAT is the value that everything is based on.)
For purposes of buying lenses, the focal lengths are NOT converted or adjusted in any way. For example, Canon makes "EF-S" lenses designed specifically to work with their crop-frame bodies. So when the kit lens that comes with the camera says it is a zoom with an 18-55mm focal length range... it really is 18-55mm regardless of sensor size. (Canon isn't multiplying or dividing focal lengths and putting a different value on the box just because it's intended for a crop-sensor camera.)
Hope this helps.
Regards,
Tim
Tim Campbell
5D II, 5D III, 60Da

How Do I Format Heads That Span 2 Columns in Text Flow?

I am working on a report fomatted in two columns. The report is divided into chapters than begin on a new page. No problem with that. But within each chapter, there are subheads that span across both columns preceed by a 6 point rule. I can do this easily if I interrupt the flow of the chain of text boxes. But how do I format this so that rule and the spanned head move along the text chain as necessary as I make changes or additions to the text?
Just type be clear, here is a typical page secuence.
Page 1 - 2 columns
Page 2 - 2 columns
Page 3 - 2 column at the top third of the page, then a rule going all the way across both columns, then a headline that also goes across the 2 columns, then the remainder of the page goes back to the 2 column format.
Page 4 - 2 columns
Page 5 - 2 columns

You can also use an inline text frame with text wrap applied, but I'm not clear how that would work in the middle of a page if all of the text above the rule is supposed to be one "entity" and all below another (i.e. the text in the first column should jump to the second column when you get to the rule, then after the headline you should restart in the first column, and when that is full jump back to the second column). It seems to me that you would need separate frames for the two parts.
Peter

Full Frame Images/Borders

I am using Photoshop Elements 6.0. I've shot an image which is horizontal, and am an trying to get the image to be full frame (square). I need to have the entire image shown so I know this needs to have a border on the top and bottom of the image. My image background is black so the border needs to be black to blend in; similar to a letter box format on a Cinemascope ratio move. Can someone please help me understand how I can get this border so that I can make a rectangular image look square? Ultimately this image will be posted to a website that requires only square images.

Tom,
I only have PE 3 so there may be some differences in 6. Perhaps someone will correct me if I'm wrong. You need to change the "Canvas" size.
Open the picture in Editor. Click on Image/Resize/Canvas size.
Leave the Anchor centered. Set the Height to the same as the Width. Select Black for the Canvas extension color. Click OK.
Bob

How can I solve my photo frame problem?

Thought I would give this forum a try regarding non-Apple hardware... I have a Coby DP-882 digital picture frame with a SanDisk 2GB card. After connecting the frame via USB, I get the disk reader icon on the desktop. I then just drag the photos there and it loads the frame. I can load about 50MB of digital photo jpegs (using GraphicConverter's browser) when I am prompted that the disk is full. I always make sure the card is cleared before I start and the pane tells me I've got 1.85GB available. My images are only about 500kbs each and I have a total of 400MB to load; should be no problem. I have tried an SD 256MB card to test, same result. Any ideas would be helpful. Thanks!

Even forum #1 Old Toad had trouble writing to a card for a photo frame. See this thread: http://discussions.apple.com/thread.jspa?messageID=4336916
You might try adding one photo at a time, like he did, and see if it will work.
You said you were doing this through Graphic Converter's browser. Is it the same result if you just use the Finder?
FWIW, I was able to copy about 587 MB of photos to a 1 GB card that already contained 176 MB. The card had been formatted in a camera (not even the same make as my own camera), and I added my pictures to the existing folder structure - to the same folder containing the other photos. It just worked. This leads to the question: How do you format the card for use in the photo frame? Could the card format have to do with the difficulty in writing to it?
Please let us know if you get an answer from the Coby support guy. You could help a lot of people with this same problem.

Project not showing full frame in a compound clip

Hi Folk;
I am finishing my first project in FCPX (10.0.9) . Overall everything went very well.
I had another editor start the project on another computer.
I copied the event to my iMac and continued the edit. No problems until I exported the project for the client review.
I have a compound clip with mixed footage and a storyline and connected clips that I have used in a project with several compound clips.
I can play this particular compound clip fine and all the video displays fine. (see picture #2)
I lay the this Compound clip into the project and I get less than full frame out in my "storyline" elements - especially after the orange render bar disappears -
I sent the client a version with the "drop out" video (see first pix below where image does not reveal full frame ) and have spent a few hours looking for a cause for my issue. I am wondering if I am the only one dealing with this.
I have created a work around - exported the compound clip and reimport it as a full clip and layed it into the timeline.
The setting for the compound clip are XDCAM sony and the footage that is at issue is AVCHD from a panasonic.
I have several events providing footage for the compound clip
The project has seveal compound clips from different events
The event folder I created seems to be where the issue lives. or maybe the render -
I am using orginal footage not proxies.
I want to avoid this in the future so any insight is helpful.
I feel I have made a mess of my first project and want to clean up any bad habit that may be causing my problem.
Thanks for the opportunity to diagnos this.
I am sure this is as clear as mud.
Cheers!

when you first create a new project, FCPX *can* be set to accept "Automatic Settings" -- basically, it will take the properties of the first clip dropped in the storyline. This can be very convenient if you know the media will be all the same, or you know how to manipulate the "first drop".
If you know the format you want your project to be, it's better to set that up manually when you start a new project (Advanced Options). When you apply your media to the storyline, FCPX will conform the media to the project settings. It doesn't always work perfectly (due to custom or proprietary differences in file formats for the containers holding the media.) For instance, one of my older (SD) camcorders produces "Samsung AVC" (from Get Info on the file) and FCPX simply will not recognize the anamorphic footage.
Anyway, so, yes, I would suspect the 1440x1020 footage might be problematic. (Are you sure it's 1020?? or did you mistype? If it's actually 1080, it still might be giving you problems. All of my 1440 footage requires manually adjusting the width by 133.33%).
You can force a change for your project by clicking going out into the Project Library and with your project selected, you should see a wrench icon at the bottom right of the inspector. Click that and adjust your project settings (you cannot change the frame rate once a project is started, but you can change just about everything else.) Once you get the format set up (and you go back into your project), then you'll know which clips will need to be adjusted. If you have footage that won't fit the frame, you will probably need to go into the video tab > Transform, turn down the Scale disclosure triangle and adjust the X scale (usually) and Y scale (only if necessary.) If the footage you need to conform is SD, there is an Anamorphic Override option available in Info > Settings.
About compound clips... FCPX tries to guess a format based on "common" properties. If you're creating compound clips with mixed media - Use Custom Settings and set the properties to be the same as the project format.
HTH

Did you know Firefox 4 does not support full frame option in iPlayer or similar?

Both at home & work - using Mac OS 10.5 & 10.6 Firefox 4 will not allow me to view full frame video stream such as BBC iPlayer, 4OD, ITV Player, TVCatchup ....etc, etc.
I have now switched to using Safari & Chrome (which work perfectly) but in the interest of your 'going forward' I thought you'd like to know of this glitch.
All the best

I have Firefox 5.0.1 and the coupon printer I'm trying to use is supported by ActiveX. It appears that 5.0.1 is not compatible with ActiveX. Can you tell me how I can access this installation to print my coupons with Firefox, please? Thanks!

Time to upgrade to Full Frame

Team,  I currenlty own a 70D and a T3i with a bunch of EF-s lenses. My question is wether to upgrade to a couple of L lenses or upgrade to a full frame camera. Ideally I love to have a Mark III but a 6D is more realistic.   My budget is about $3500 I do real estate photography with some portrait side gigs on the side, no weddings or big projects.  Will it make sense to keep my 70D with some prime lenses for portrait photograpy? or go full frame is there much of a difference if i used a 70-200 2.8L lens on a 70D then a 6D?  your help and expertise is greatly appreciated.

Unless you want to get into really high end real estate photography, I'd suggest you stick with your 70D for now and start gradually changing your lens line-up, with a goal to build a system that will eventually allow you to add a full frame camera to use alongside the crop sensor camera. There are advantages and limitations with both sensor formats. I use both crop sensor and full frame cameras (a pair of 7D and a 5DII in my case, right now). I prefer the crop camera for sports/action and anything requiring longer telephoto lenses. And I like the full frame for landscape, architecture, portraiture and sometimes for macro work. One of the reasons I choose the full frame for portraiture is control over depth of field. Now, DoF is governed by lens focal length, working distance and lens aperture.... it doesn't actually change due to different sensor formats. However, in order to frame a subject the same way with a full frame camera, it's either necessary to use a longer focal length or move closer to the subject, or a little of both. Changing either distance or focal length will tend to render shallower depth of field. Conversely, full frame cameras can use smaller apertures before diffraction becomes an issue, so a FF also has some advantage for macro work or for landscape/architecture where great DoF is often wanted.  In generaly, there's a bit less lens selection for FF, though it's still quite extensive in the Canon system. This is because a FF camera can only use EF lenses, while your crop sensor 70D and my 7Ds can use both EF-S/crop-only and EF/full-frame-capable lenses. Also in general lenses for FF cameras will be larger, heavier and more expensive. It's most noticeable with telephotos, of course, but to some extent is true even with wide angle. IMO, on 70D a 70-200mm is a bit long for a lot of portraiture work. My most prefered lenses for portraits with a crop sensor camera are 50/1.4, 85/1.8 and 24-70/2.8. On full frame, my most frequently used portrait lenses are 85/1.8, 135/2, 70-200/4 and 70-200/2.8. Sure, there are times that wider and longer lenses can be useful for certain types of portraits. But these are what I use most often and feel are the most basic or "traditional" focal lengths for the purpose. Short telephotos generally render the most ideal perspective for portraits. Also, I mostly shoot candid portraits, not posed. Because that often means working with less than desirable backgrounds, I prefer larger aperture lenses that allow me the option to blur down distractions behind (and sometimes in front of) the subject. If shooting in studio or more posed at a planned location, with more control over the background and other elements, it would be different and large aperture lenses would be less necessary. Real estate photography work often calls for a wide angle and a lot of depth of field. With your crop camera, the EF-S 10-18mm you've got probably sees a lot of use. If you were shooting full frame, you'd probably want EF 16-35/2.8 or EF 16-35/4... or EF 11-24/2.8 (but that would use up most of your budget and not leave room to buy a camera to use it on). Tilt shift lenses such as the TS-E 17/4 and TS-E 24/3.5 II are also top choices for architectural photography. Compare size, weight and prices. Also, if you use filters a lot, some require larger (16-35/2.8 II uses 82mm) and the TS-E 17/4 and EF 11-24/2.8 both have stongly convex front elements that won't allow standard screw-in filters to be used at all. There aren't many truly wide lenses for crop cameras that are also FF compatible. The EF 11-24/2.8 is one of very few. The EF 14/2.8 II is another. So, to use the crop camera for wide angle shots, you'll probably want to keep at least one or two EF-S/crop only lenses. The EF-S 10-22mm is an older lens than the EF-S 10-18mm, but is a little better built and with more edge-to-edge image sharpness... it's one of the best ultrawides made by anyone... but costs about 2X as much. If it were me, I'd prefer the Canon EF-S 17-55/2.8 IS USM over the Sigma 17-70... but once again this is a "crop only" lens. For dual format purpose, one of the 16-35mm or the EF 17-40/4 might replace it better and be able to serve on both camera formats. I use a little longer 24-70 and 28-135 as my "walk around" or mid-range zooms.    6D is a nice camera and, compared to 70D, would be desirable for very large prints or for low light/high ISO shooting situations. That's because full frame images need less magnification for enlargement and use bigger pixel sites that capture more fine detail, both of which allow for bigger prints. Not that you'd notice much difference with 13x19 or smaller prints. And certainly you wouldn't be able to tell any difference at Internet resolutions if a lot of your stuff ends up on websites. Because the FF camera's 20MP sensor is so much less crowded than the 20MP crop sensor, there is less heat and less cross talk, making for cleaning or less noise in very high ISO images. The difference would be most noticealbe at ISO 1600 and above.   The 70D has a more sophisticated and versatile AF system, except that the 6D's can still manage to focus in one or two stops lower light (center point only). 70D has 19-point AF that's similar to original 7D, active matrix focus screen, and zone focus in addition to the all points/auto and single point/manual focus patterns offered by all Canon DSLRs. The 6D only offers the last to focus patterns, doesn't have zone, and it has a fixed (but interchangeable with a few types) focus screen. 70D's active matrix focus screen makes possible the camera's "grid on demand" feature that can be turned on or off via the menu, and which can be quite handy when shooting architecture inside or out. With 6D you can get similar grid in the viewfinder, but to do so would need need to swap out with a separately sold, accessory "D" type focus screen. In 70D all nineteen AF points are the more sensitive dual axis/cross type, with the center one enhanced for f2.8 and faster lenses. 6D's eleven AF points have only one dual axis/cross type... the center point... while all the others are single axis type. Either camera's AF system is probably more than adequate for what you say you shoot primarily. If you were shooting sports/action/wildlife/birds, the 70D's AF system would likely be more ideal, though... so I'd rate it as more versatile. The 6D's would be a better choice for low light work, though. 70D also has articulated LCD screen and built-in flash, while 6D has neither of those features. The 70D and 6D share batteries, chargers, memory and have mostly similar control layouts, always nice when using two different cameras interchangeably for various purposes. So, if it were me, I'd probably keep shooting with the 70D and work on lens upgrades first, then add the FF camera later. But that's just me. Your needs might be different and call for another approach. ***********
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & EXPOSUREMANAGER

How do I format a full frame 16x20 print to minimize edge loss at printer?

Similar Messages

Maybe you are looking for